It probably seems counterintuitive to feature a track that emerged online nearing three weeks ago, though when it comes to the hyperactive Syrian jives of Omar Souleyman, precise temporal pinpointing appears to have absolutely no bearing whatsoever – this is music that could have conceivably been composed any time between now and the mid-1970′s, when the polyphonic synthesiser took on an insentient life of its own. And despite having been produced by Four Tet, little has changed if the title track from forthcoming Kieran Hebden-handicapped full-length Wenu Wenu is to be taken at face value.
It’s how his musical outpour is always best accessed, for far removed from the civil conflicts and those more contemporary chemical attacks to have plagued his homeland in recent times, this outré instigator preaches an unrelentingly upbeat message that, if lyrically unintelligible to the Western ear, translates with a remarkable lucidity of thought and intention. Prompting the usual corporeal reaction, Wenu Wenu in fact sounds not dissimilar to much of the stuff Dan Snaith has released under his Jiaolong label, an ethnic mania akin to that of The Track I’ve Been Playing That People Keep Asking About and That Joy Used in His RA Mix and Daphni Played on Boiler Room impinging only on the song’s lattermost minutes. Though nobody out there has yet proven themselves to be capable of reproducing the eccentric euphoria Omar’s music promotes, and you sense that even if Avicii were to have a stab at masterminding his next effort, the results would remain unmistakably Souleyman.
Wenu Wenu is anticipated October 21st on Ribbon Music.